The Blog

Hamlet has been a continual source of reference and inspiration for “Shakespeare For Our Children” for many years. We have explored the eeriness of Hamlet encountering his father’s ghost; the eternal draw of “to be or not to be”; and more recently ― the classical cinematic interpretation of the ghost’s command to “leave [Hamlet’s mother] to heaven.” 

The play has, of course, been a muse for artists across the generations, and certainly no interpreter’s name is more hallowed than that of Sir Laurence Olivier. In 1948, he directed and starred in a film version of Hamlet. (Which, incredibly, would go on to win the Academy Award for Best Picture).

In an age of Technicolour, Olivier called upon lustrous black-and-white cinematography to create Hamlet’s Denmark. As he wrote in his memoir, Confessions of an Actor: “I chose black-and-white [ . . . ]  rather than color, to achieve [ . . . ] a more majestic, more poetic image, in keeping with the stature of the verse.” 

As can be seen here, Olivier indeed evoked a marvelous and majestic world of mists and inky shadow. Elsinore Castle becomes a labyrinth which mirrors that of Hamlet’s troubled mind: near-infinite archways hint at caverns of darkness; winding staircases lead to the tops of lonely towers; and massive pillars dwarf the human figures who occupy the Court.

Yet, punctuating this expanse of poetic space, are close-ups of Olivier as Hamlet and Jean Simmons as his Ophelia ― each capturing their marvelous faces as they drift through this uncanny maze. 

Though critics and audiences over the years have questioned Olivier’s decision to omit a portion of the play, we have found that the spirit of Hamlet remains gloriously preserved in this cinematic adaptation.

And to Olivier and Company, may we gratefully offer ―  Bravo!

©2021

We often talk about viewing the world through rose-coloured glasses: Always seeing the best in people or situations, even if our confidence turns out to have been misplaced.

Hundreds of years ago, Shakespeare explored this romanticising perspective in A Midsummer Night’s Dream. Here, mischievous Puck places the sleeping fairy queen Titania under a spell that charms her into falling in love with the first person she sees upon waking. And in Act III, Scene 1, who should Titania see but Bottom, a humble workman — with the head of an ass, no less — also thanks to Puck!

Through this enchantment, Titania can only perceive beauty in Bottom’s voice and appearance: “Mine ear is much enamoured of thy note / So is my eye enthralled to thy shape.” She commands a nonplussed Bottom to stay with her, promising him “fairies to attend on thee / And they shall fetch thee jewels from the deep.” (Listen above!) In the context of the play, Titania’s grandiose devotion to an ass appears comedic, even absurd; yet how many times in our daily life do we misjudge appearances and, indeed, risk making a fool of ourselves? 

In the past, we at Shakespeare For Our Children have explored the transcendent love of Romeo and Juliet and the sparkling courtship in Much Ado about Nothing. This Valentine’s season, explore Midsummer’s romantic misunderstanding in this scene with your students. Encourage them — appropriately enough! — to see beyond its surface: How do we relate to Titania and her rose-coloured glasses?

Can we have sympathy for her folly . . . and does it perhaps bring to mind the times when we ourselves have perhaps promised too much, too quickly? 

©2021

Who could have known what 2020 would bring?

It has been a year of challenges and reinvention; a time in which we had to reconsider virtually every facet of our daily lives. Shakespeare told us that “all the world’s a stage” — but over the past 12 months, we each found ourselves learning different roles in entirely new productions. 

Looking ahead to 2021, we at Shakespeare For Our Children are reminded of key lines from Julius Caesar (Act IV, Scene 3). “There is a tide in the affairs of men | Which, taken at the flood, leads on to fortune,” Brutus declares as he considers the timing of his war against Mark Antony. “On such a full sea are we now afloat.” Brutus also describes a stagnant alternative to riding this wave of potential: being “bound in shallows and in miseries.” More than an abstract musing on strategy — that is, how to fight — Brutus here illuminates the importance of timing: when to fight. (Listen above!)

Symbolically, the dawn of a new year has always signalled a time of resolution and affirmation. But after such a uniquely difficult past year, 2021 indeed presents a “full sea” of opportunity. It is a time to seize the possibilities for change and growth, rather than reacting to events beyond our control. The power of perception is central here: thinking back on 2020, it would be easy to say that the tide had turned against us. Now as we look forward, let us claim a sense of positive momentum — knowing that we are still on the voyage, but moving on with hope.

©2021

Halloween is going to feel a little different this year, no question. But even if the art of Trick or Treating might be suspended this October, there are still ways to bring Shakespeare and Halloween together!

One idea would be to have a spooky virtual reading of the Bard’s works.

Bring together family and friends to enjoy a selection of chilling moments ― think about the Three Witches scene from Macbeth or Hamlet encountering his father’s ghost. The set design can be as extravagant or as minimalist as you like: For example, you may want to hang a curtain and shine a light behind it, casting eerie shadows in the background as the children perform. Or you could simply light some candles and place a Jack-o-Lantern in the frame to add some low-key atmosphere.

And as for costumes, dressing all in basic black provides the appropriate dramatic touch. 

For those of us who prefer to dress with a little more pizzaz, you could invite the children to participate in a virtual costume contest ― with a twist! In the days leading up to Halloween, ask your group of young actors to design and sketch costumes for their favourite Shakespearean characters ― Romeo and Juliet, Puck, Miranda, anyone. You can share the designs on the screen at the virtual reading, and be sure to give everyone a unique prize. (This is a great option for those children who might be reluctant to participate in the online performance itself.)

Halloween is the most theatrical of holidays, and so much of it is associated with face-to-face fun (and scares!). But moving those thrills onto a virtual context adds still another otherworldly quality to Shakespeare’s works ― still uncanny, and still safe. 

©2020

In recent posts, we have talked through various ways to make children feel more comfortable on the stage. Whether they are hitting the stage in a starring role or starting out with a walk-on part, each child needs to be equipped with techniques that will give them confidence.

Key here are Theatre Games – have a look at them here. Don’t let the “games” fool you! These are fun but thought-provoking exercises that encourage actors of all ages to reflect on how they carry themselves on stage, relate to fellow performers, and construct a character. For example, the Mirror Game is an excellent way to bond children who will have multiple scenes together, inviting them to pay close attention to each gesture and expression. In related terms, Improvisations with Character Cards allow children to act out their characters’ emotional dynamics “in other words.” Not only do improvs allow for freedom of expression, but they also help the young actors feel all the more familiar with their roles. But before those two games, do make time for the gentle physical activity of the Warm-Ups. Put on some music and have the children move as they wish: rolling their shoulders, dancing, stretching. Such movements allow each actor to become comfortable with, and trust, their own body. After all, acting is not just about memorizing lines; it is also about giving human form to a character that only exists on the page. 

For all of the seriousness of much of Shakespeare’s subject matter, and all of the discipline of rehearsals themselves, Theatre Games provide a light-hearted way to ensure that each child feels all the more secure when it comes time to play their part!

It is no exaggeration to say that most Actors share the same fear: “going up” ― that is, forgetting their lines while on stage. We always reassure the children that the role of narrator is, in part, to offer a safety net for just such situations ― and it is essential to have someone there to provide a missed cue or forgotten line.

But what about the little slip-ups that can happen to anyone on-stage: dropping a prop, bumping into a piece of furniture, or tripping? In short, how can we best prepare a young Actor for the unexpected?

There is no way to promise a child that there will be no mistakes on “the big night,” but we can help them trust their instincts should something arise. An essential strategy is to instill the understanding that appearing in a production is not just about memorizing lines. It is also about learning how to “inhabit the stage.” This is where and how rehearsals are so key, as we encourage the children to feel at ease with the set, the costumes, and the props ― every bit as much as with their lines. After all, the child needs to “fit” securely into each of these elements in order to create and express their characters.

Familiarity with the stage enhances and supports confidence ― and the child’s conviction that they can be as comfortable in the world of the character as in their own. This came to the fore in one memorable production, when a painting fell off the wall of the set. Very calmly, while still speaking his monologue . . . our young Hamlet simply walked over and placed the painting back on the wall, just as he would have done in his own home!

The valuable lesson was impressively demonstrated that Actors of any age can maintain their poise if something unexpected occurs or goes awry ― because they feel at home on the stage.

©2020

In our last blog, we talked about short speeches which can help ease a child’s transition to larger roles. These “building blocks” pieces enable younger, less-experienced performers to gain and grow in confidence on the stage. As we noted, it is those “in-between” points that make all the difference ― whether the student is moving from incidental parts, or behind-the-scenes work, to speaking roles, or whether they are ready to move on to full-fledged characterizations.

A great building block for the latter phase is the speech that Cordelia delivers to her father, King Lear, at the start of the play.

In Act 1, Scene 1, Lear asks his three daughters ― Regan, Goneril, and Cordelia ― to declare who loves him the most so that he will know how to divide his kingdom between them. Regan and Goneril declare their love so melodramatically as to flatter their father’s vanity and gain his wealth; Cordelia, however, answers simply and honestly. “I love your Majesty according to my bond,” she explains, “No more nor less.” This enrages Lear, who banishes his daughter and sets the tragic events of the play in motion.

Cordelia’s speech is not long ― just about a dozen lines ― but it allows for complex character development. She is sincere but not cloying; direct but respectful. Her innocence contrasts with the duplicity of her sisters, with her words attesting to her personal integrity. That quality can be more challenging to convey than humour, romance, or even villainy. It is, simply, an excellent performance piece for a rising star!

© 2020

After teaching more than one generation of young actors, we at Shakespeare For Our Children know that one question will always come up: “When do I get a bigger part?” In turn, we reply with one of the great maxims of the theatre: “There are no small parts, only small actors!” In classes that can have an age range of 5 – 12, it is key that everyone is given a chance to contribute to the production — whether on stage or behind the scenes. And every child knows just how much their contribution is valued.

One of the greatest delights, though, is watching a young performer grow in confidence and technique (in memorizing lines, developing a character, or engaging with fellow actors). When one of our children is at an in-between point — beyond incidental lines, but not yet mature enough for an entire part — we have a stock of monologues that fit the bill. One of these is Philostrate’s introduction to the play-within-a-play in A Midsummer Night’s Dream. As “Master of the Revels,” Philostrate must reluctantly announce the Athenian workmen’s absurd melodrama to Duke Theseus. This humorous monologue is only 10 lines, but it has always been a real showstopper — usually because one of our budding leads directly addresses the audience!

Speeches like this provide the perfect transition piece for young actors who are looking for that “bigger part” — giving them a sense of taking centre stage without the pressure of a leading role, but with the promise of things to come.

©2020

The digital age — though not without its pitfalls! — has truly opened up an entire world for students of Shakespeare. From the magic of streamed performances to entire collections of images, online content has brought the Bard to any number of audiences. This accessibility has been all the more significant in recent months, of course.

As part of our Treasure Troves, we wanted to highlight another wonderful resource. Shakespeare Documented: An Online Exhibition, hosted by the Folger Shakespeare Library, offers digitized access to hundreds of materials related to Shakespeare’s life and works. His plays and sonnets are so immersive that it can be easy to lose sight of the man behind them; what this exhibition offers is a multi-faceted vision of, as the website describes it, “a professional playwright, actor, poet, business man, and family man who lived in both London and Stratford-upon-Avon.”

Young performers will especially enjoy glimpsing first editions of Shakespeare’s Sonnets, as well as plays such as Romeo and Juliet and A Midsummer Night’s Dream! Browse through the exhibition and find plays which your young actors might be studying; not only do these images offer a sense of Shakespeare’s historical era, but they also show the grand theatrical tradition which the children are continuing. Whether on parchment or computer screens, Shakespeare’s words live on.

In spite of all the challenges in the world right now, Spring has still managed to weave her beautiful spell, with blossoms on the trees, warmth in the air. And as we take our steps into this new season (even if we can only take a few outside of our homes at the moment) — we can begin yet another journey: this one towards a better understanding of Shakespeare. With this in mind, we wanted to share some materials that we have found to be essential in the earliest days of introducing children to Shakespeare. “The basic elements,” if you like!

One great way to begin is with Shakespeare’s own story. Establishing the life and times of the man himself introduces children to the pageantry of Elizabethan England — and no book does that better than Diane Stanley and Peter Vennema’s The Bard of Avon. We’ve written about it before, and it remains a perfect starting point for young performers. Many are amazed to learn about Shakespeare’s own career as a successful London actor!

Puck’s epilogue from A Midsummer Night’s Dream is another excellent place to begin. (Read it here and listen to it above.) This delightful piece has always been the first one that we share with our students, for it introduces them to the idea of creating a character (the popular mischievous sprite), highlights the relationship between actor and audience (given that the epilogue is directly addressed to the viewer), and has a lively tone which captures the rhythm of Shakespeare’s language. You can begin by reading the children Charles and Mary Lamb’s account of the play, or Bruce Coville’s eloquent retelling. 

At its heart, introducing children to Shakespeare is all about the stories: the ones that he told, and the ones that actors can, in turn, share with their audience. And each of the tales above — whether about Shakespeare’s life and his plays, or those told in his own words — are the seeds that one can plant so that the children’s understanding and admiration for Shakespeare can blossom.